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Rhapsody in the Organ Works of Herbert Howells Rhapsody in the Organ Works of Herbert Howells: An Examination of Rhapsody-Based Organ Works Both With and Without Text Associations and a Look at the Expressive Effects Implied by the Texts Item Type text; Electronic Dissertation Authors Grice, Donald James Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 13:32:44 Link to Item http://hdl.handle.net/10150/195927 RHAPSODY IN THE ORGAN WORKS OF HERBERT HOWELLS: AN EXAMINATION OF RHAPSODY-BASED ORGAN WORKS BOTH WITH AND WITHOUT TEXT ASSOCIATIONS AND A LOOK AT THE EXPRESSIVE EFFECTS IMPLIED BY THE TEXTS by Donald James Grice _____________________ A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2008 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Donald James Grice entitled Rhapsody in the Organ Works of Herbert Howells: An Examination of Rhapsody-Based Organ Works Both With and Without Text Associations and a Look at the Expressive Effects Implied by the Texts and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________________________ Date: June 12, 2008 Pamela Decker _______________________________________________________________________ Date: June 12, 2008 John Brobeck _______________________________________________________________________ Date: June 12, 2008 Rex Woods Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. ________________________________________________ Date: June 12, 2008 Document Director: Pamela Decker 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: Donald James Grice 4 TABLE OF CONTENTS LIST OF FIGURES ............................................................................................................ 7 LIST OF MUSICAL EXAMPLES..................................................................................... 8 ABSTRACT...................................................................................................................... 11 CHAPTER ONE: INTRODUCTION............................................................................... 12 CHAPTER TWO: BIOGRAPHY AND INFLUENCES.................................................. 17 Biography ..................................................................................................................... 17 Influences...................................................................................................................... 23 CHAPTER THREE: MUSICAL LANGUAGE AND STYLE........................................ 26 CHAPTER FOUR: THE OUTPUT.................................................................................. 30 CHAPTER FIVE: COMPARISON OF RHAPSODY-BASED WORKS BOTH WITH AND WITHOUT TEXT ASSOCIATION ....................................................................... 41 Arch form...................................................................................................................... 41 Dynamics .................................................................................................................. 42 Tempo ....................................................................................................................... 43 Texture...................................................................................................................... 44 Counterpoint ................................................................................................................. 47 Harmonic language....................................................................................................... 49 Signature Chord ........................................................................................................ 49 Cross Relations ......................................................................................................... 51 Enharmonic Change.................................................................................................. 52 Third Relations ......................................................................................................... 54 5 TABLE OF CONTENTS - Continued Melodic Style................................................................................................................ 55 Signature Motives......................................................................................................... 57 Thematic Transformation ............................................................................................. 59 Rhythm and Meter ........................................................................................................ 60 CHAPTER SIX: EXAMINATION OF TEXTS AND THEIR RELATIONSHIP TO THE EXPRESSIVE EFFECT OF THE MUSIC....................................................................... 64 Psalm Prelude, Set 1, No. 1 .......................................................................................... 64 Psalm Prelude, Set 1, No. 2 .......................................................................................... 67 Psalm Prelude, Set 1, No. 3 .......................................................................................... 69 Psalm Prelude, Set 2, No. 1 .......................................................................................... 72 Psalm Prelude, Set 2, No. 2 .......................................................................................... 76 Psalm Prelude, Set 2, No. 3 .......................................................................................... 80 Rhapsody IV .................................................................................................................. 82 Prelude De Profundis ................................................................................................... 84 CHAPTER SEVEN: PERFORMANCE CONSIDERATIONS ....................................... 90 The Evolution of the British Organ in the Twentieth Century ..................................... 90 Acoustical Properties of English Cathedrals ................................................................ 92 Implications for North American Organists ................................................................. 92 CHAPTER EIGHT: CONCLUSION ............................................................................... 99 APPENDIX A: DEDICATEES OF HOWELLS’S ORGAN WORKS......................... 101 APPENDIX B: PERMISSIONS.................................................................................... 109 6 TABLE OF CONTENTS - Continued REFERENCES ............................................................................................................... 110 7 LIST OF FIGURES Figure 1. Rhapsody-Based Organ Works with Text Association.................................... 14 Figure 2. Rhapsody-Based Organ Works without Text Association............................... 15 Figure 3. Organ Works by Herbert Howells.................................................................... 35 Figure 4. Dynamic Levels Indicated in Psalm Prelude, Set 2, No. 1 ............................... 42 Figure 5. Dynamic Levels Indicated in Rhapsody No. 1 ................................................. 43 Figure 6. Number of Metric Changes in Rhapsody-Based Works with Text Association ................................................................................................................................... 62 Figure 7. Number of Metric Changes in Rhapsody-Based Works without Text Association................................................................................................................ 62 8 LIST OF MUSICAL EXAMPLES Example 5-1. Psalm Prelude, Set 2, No. 1 , m. 1.............................................................. 44 Example 5-2. Psalm Prelude, Set 2, No. 1 , m. 64............................................................ 45 Example 5-3. Psalm Prelude, Set 2, No. 1 , m. 96............................................................ 45 Example 5-4. Fugue, Chorale and Epilogue , mm. 1-2.................................................... 46 Example 5-5. Fugue, Chorale and Epilogue , mm. 63-64...............................................
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